The Brooklyn Country folks like living dangerously: they didn’t even put a canopy over the stage before the all-day parade of bands started. But they didn’t let a few drops of rain, a massive bank of cumulo nimbus overhead moving closer and closer or the miserable tropical humidity stop them from putting on one of the best shows this city’s seen this year. Their frequent Brooklyn County Fair shindigs go all day and into the night: this time around, the daytime venue was the pleasant Urban Meadow community garden space where President Street deadends into the water in Red Hook. The only ironic thing about the country music being made in Brooklyn these days is that it’s better than 95% of what’s coming out of Nashville: Saturday’s lineup was a goldmine of both retro and cutting-edge country and Americana talent.

Plagued with technical difficulties, Maynard & the Musties’ opening set was a wash (and looked like it would be a wash in more ways than one, with the clouds as dark as they were, but the sky never broke). They’re playing Lakeside on Friday the 23rd if you missed them here – and by the looks of the crowd, you probably did.

String band Me Before You blended bluegrass, folk and oldtime hillbilly sounds with some gorgeous vocal harmonies from brother and sister Anthony and Amy Novak, who switched on and off between guitar and mandolin, anchored by Carlos Barriento’s often haunting, bowed bass and Joyce Chen’s soaring fiddle. Their version of Blue Moon of Kentucky started slow and soulful, then turned on a dime and went doublespeed. But their originals were the best, Amy’s wary, somewhat wounded delivery akin to Patsy Cline. Toward the end of the set, Anthony finally cut loose with a sizzling guitar solo on one of their upbeat numbers, somehow managing to keep his fingers on the fretboard despite the heat and humidity.

The Dixons didn’t let the heat phase them either. Decked out in their retro hats and suits, they looked and sounded straight out of Bakersfield, 1964 – there hasn’t been a New York band who’ve done this kind of honkytonk so effortlessly and expertly well since Buddy Woodward put the Nitro Express in mothballs and headed for the hills of Virginia. Dixons frontman and rhythm guitarist Jeff Mowrer sang with a sly baritone a lot like Junior Brown while drummer Brother Paul hung back with a stick in his right hand and a brush in his left, delivering the slinkiest shuffle beat you could possibly imagine, Smilin’ Joe Covington pushing it along with his upright bass and Telecaster player Chris Hartway bringing back the ghost of Duane Eddy to guide his fast fingers. Guest pedal steel player Skip Krevens would kick off the solos and then Hartway would finish them, taking it up a notch with one lusciously reverb-drenched, twangy, tuneful fill after another – a little bluegrass, a little blues, a little surf, he did it all. Between songs, the crowd was silent: they didn’t know what hit them. They turned Ernest Tubb’s Thanks a Lot into a Hudson Hornet era boogie and happily repatriated Waylon Jennings’ Sweet Sweet Mental Revenge to a time before Pam Tillis was born. Their briskly shuffling opening tune, Still Your Fool (title track to their excellent album) set the tone for the day; The Lonesome Side of Me was period perfect not just with the music but also the lyrics, a vibe that would happen again and again during their set.

Led by Texas expat and bartitone crooner (and Brooklyn Country honch0) JD Duarte alongside chanteuse Carin Gorrell, the Newton Gang were just as good – but in a completely different way. The Dixons sound as fresh as they do because hardly anyone around these parts has that kind of sound, and the same goes for these guys. But where the Dixons have every part completely nailed down cold, the Newton Gang are just loose enough to be dangerous, part outlaw country, part evil-tinged paisley underground rockers. With a careening two-guitar attack of Duarte and agile, smartly terse Telecaster player Alan Lee Backer, they shifted unexpectedly and edgily between major and minor keys, through a brutal ballad about a kid who kills his entire family, several escape anthems (a recurrent theme in this band) and a pretty unhinged version of A Woman Scorned, a fiery, chugging tune from the band’s upcoming album. Pedal steel player Gordon Hartin built a river of dark textures, giving a fluid underpinning to the crash-and-burn overhead while drummer David Ciolino-Volano and bassist Chet Hartin teamed up for a backbeat pulse that swung like crazy – not what you’d expect from a twangy monster like this group. Unlike the parade of Carrie Underwood soundalikes out there, Gorrell goes for an often darkly aware, no-nonsense Tammy Wynette approach. Her lead vocals packed a mean punch on the rousing Mistreat Me, just as much a challenge as a come-on, a test to see if the guy’s man enough for her.

By the time they were done, the temperature had tumbled pleasantly by at least twenty degrees, but the clouds looked like they’d finally reached their limit. Alana Amram & the Rough Gems, another excellent band who mix country and rock in a cool rather than cheesy way, were next, followed by zydeco/honkytonk band the Doc Marshalls and then Americana singer Michaela Anne. But the way the sky was looking, it was time for a raincheck. We made it just past Abilene on Court St. before the monsoon hit.

About

Welcome to Lucid Culture, a New York-based music blog active since 2007. You can scroll down for a brief history and explanation of what we do here. To help you get around this site, here are some links which will take you quickly to our most popular features:

If you’re wondering where all the rock music coverage here went, it’s moved to our sister blog New York Music Daily.

April, 2007 – Lucid Culture debuts as the online version of a somewhat notorious New York music and politics e-zine. After a brief flirtation with blogging about global politics, we begin covering the dark fringes of the New York rock scene that the indie rock blogosphere and the corporate media find too frightening, too smart or too unfashionable. “Great music that’s not trendy” becomes our mantra.

2008-2009 – jazz, classical and world music become an integral part of coverage here. Our 666 Best Songs of All Time list becomes a hit, as do our year-end lists for best songs, best albums and best New York area concerts.

2011 – one of Lucid Culture’s founding members creates New York Music Daily, a blog dedicated primarily to rock music coverage from a transgressive, oldschool New York point of view, with Lucid Culture continuing to cover music that’s typically more lucid and cultured.

2012-13 – Lucid Culture eases into its current role as New York Music Daily’s jazz and classical annex.